By AARON KREIN
Arts Editor
Every awards season there are a handful of films that sweep across the board with critics and pundits that ultimately make it to Oscar gold. One of the films likely to do well when the nominations are announced on Jan. 24 is “Fences.” It’s based on the late playwright August Wilson’s 1983 Pulitzer Prize-winning play about an African-American family in circa-1950s Pittsburgh.
Denzel Washington, who stars and directed the film, plays Troy Maxson, a middle-aged father with various issues like making sure his two sons behave and stay loyal to him. In the middle of this is his wife, Rose, played by Viola Davis, who eventually finds out a secret that turns the film upside down.
From seeing Troy doing his daily rounds as a waste collector to seeing how he deals with his high school senior son, Cory, who wants to make a career in sports, we see the kind of person Troy is from his eyes as well as others. By the end of the film, despite the many twisted things this character does, it’s hard not to like him based on Washington’s superb delivery of Wilson’s dialogue.
It is worth noting that the majority of the actors in this film are carried over from the 2010 Broadway revival.
It garnered Washington his first Tony while Davis went on to win her second. Jovan Adepo, one of the few actors new to the cast with the biggest portrayal, fits right in with them and his emotion towards his father, whether positive or negative, is something that hits the heart.
What this films nails at its core is the acting and its chemistry. Being a classic play, each of the members of the Maxson family is written well and is developed thoroughly by the end.
I left the theater knowing these characters well, particularly Troy and Rose, whom I’d eventually remember were in reality Washington and Davis.
Many people who criticize this film believe that it suffers from feeling too much like a play and not feeling like a complete film adaptation.
I understand this thought, considering there are many scenes where there are just characters talking for a long period of time in the same shot. However, I wouldn’t say it’s portrayed like a play throughout the whole film. The beginning, particularly the opening scene, feels like a play and one may say that it’s a nod to the original source material.
By the time we get to the rising action of the movie, it does start to feel more like a movie with different shots and edits. This happens when the drama starts and part of me feels that this was done purposely.
If that is the case, I find it very clever since it really makes the film stand out from other stage-play-to-film adaptations.
Although, one thing many people have agreed is that Davis completely owns this movie.
Washington certainly delivers one of the best performances of his career, but it’s the support and sorrow of his wife Rose that melts your heart and has you rooting for her after she suffers a major plot twist. Granted, if you are familiar with Wilson’s play, you know where that twist goes and Washington’s direction of these actors executes it well.
Since switching her category from leading to supporting, Davis has won in a landslide in various critic forums and pre-cursors such as last week’s Golden Globes. After two nominations for “Doubt” and “The Help,” I’m happy to say it is very likely Davis will finally win her first Academy Award and it will be well deserved.
Lastly, the film hits all the marks for being considered a modern classic.
As stated = previously, the acting is top notch and the delivery at times is profound. In one particular scene, Davis delivers a line toward Washington in such a way that it was the best part of the movie.
It’s the line you’ll see people referencing in years to come- however, to reference it gives away much of the film.
When I left the theater, all I could think was “wow, I think I just saw a movie classic during its opening release.”
With a lot of heart and respect put into this project to pay homage to Wilson, this film is a must-see theatrical release for those who like watching soon-to-be classics or the occasional “Oscar-bait” for contention.
